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La Estafa En La Obra De Arte
UNIVERSIDAD DE MURCIA DEPARTAMENTO DE HISTORIA JUR´IDICA Y CIENCIAS PENALES Y CRIMINOLOGICAS´ La Estafa en la Obra de Arte D~na.Mar´ıa Angeles´ Casab´oOrt´ı 2014 Dedicatorias En este trabajo de investigaci´onme parece obligado hacer un previo reconocimiento a todas aquellas personas que me han prestado su ayuda e inmejorables consejos. Al Profesor Jaime Peris por su apoyo, la paciente orientaci´one in- estimables sugerencias a trav´esde todas las etapas del proceso. Su supervisi´ony opiniones me recordaron que los conocimientos pluridis- ciplinares enriquecen cualquier investigaci´on. Al Profesor Amadeo Serra por su constante seguimiento y relevantes aportes, compartiendo su tiempo de manera generosa. Sus interesantes clases fueron un ejemplo de como realizar siempre un trabajo riguroso. A Ana Rosa G´omezCalvet por su colaboraci´onen la maquetaci´ony revisi´on. A mi madre y hermana Luc´ıa,con las que he podido compartir esta pasi´on. A la memoria de mi padre que me transmiti´oel amor por el derecho. A Roberto y mis hijas Bertha y Angela,´ que me han acompa~nadoen este viaje y que me hacen feliz. Resumen El prop´ositode la presente tesis es el an´alisisy estudio jur´ıdicopenal en torno a la estafa mediante obras de arte falsas. El objeto de la investigaci´on,pues, queda circunscrito a la figura b´asicadel delito de estafa y a los preceptos que la complementan recogidos en los art´ıculos 248.1, 249 y 623,4 del C´odigoPenal. El n´ucleode la tesis est´aformado por tres cap´ıtulos,en un primero, se realiza un estudio terminol´ogico,necesario para definir un marco introductorio donde se acota el tema: el mercado del arte y el concepto de obra de arte. -
出品作品リスト| List of Works
主 催:東京都美術館(公益財団法人東京都歴史文化財団)、東京新聞、TBS 後 援:オ ラ ン ダ 王 国 大 使 館 、 TBSラ ジ オ、 BS - TBS 協 賛:三井住友銀行、日本写真印刷、三井物産、損保ジャパン日本興亜 協 力:エールフランス航 空 / K L M オランダ航 空、日本航 空、オランダ 政 府観 光 局 Organized by:Tokyo Metropolitan Art Museum (Tokyo Metropolitan Foundation for History and Culture)/The Tokyo Shimbun/TBS With the support of:Embassy of the Kingdom of the Netherlands/ TBS RADIO, Inc./BS - TBS With the sponsorship of:Sumitomo Mitsui Banking Corporation/Nissha Printing Co., Ltd./MITSUI & CO., LTD. /Sompo Japan Nipponkoa Insurance Inc. With the cooperation of:Air France / KLM Royal Dutch Airlines/JAPAN AIRLINES/ Netherlands Board of Tourism & Conventions 本展は、政府による美術品補償制度の適用を受けています。 This exhibition is covered by the Japanese Act on the Indemnification of Damage to Works of Art in Exhibitions (Act No.17 of 2011) 出品 作 品リスト | List of Works ・本リストの掲載順と作品展示順は必ずしも一致しません。 ・ 展示室内の温度・湿度、照明は、作品保護に関する所蔵者の貸出条件に従い管理しております。ご来場の皆様にとって理想的と感じられない場合もあるかと存じますが、 ご容赦ください。 ・作品番号 10、11、27、29、53、62 は東京会場に出品されないため、本リストには掲載しておりません。 ・The order of the work in this list may not necessarily correspond to that in the exhibition. ・Temperature, humidity and brightness of the exhibition room are controlled under the lender's condition of loan and international standard for preservation of work. We apologize any inconvenience this may cause. ・Work nos. 10, 11, 27, 29, 53, 62 will not be displayed in Tokyo. 番号 作家名 作品名 制作年 技法・材質 所蔵 No. Artist Title Year Technique / Material Collection 第1章 近代絵画のパイオニア誕生 The Making of the Two Fathers of Modern Art 1 フィン セ ント ・ファン ・ゴッホ 泥炭船と二人の人物 1883 油彩、 ドレント美 術 館 板 に -
La Estafa En La Obra De Arte
UNIVERSIDAD DE MURCIA DEPARTAMENTO DE HISTORIA JUR´IDICA Y CIENCIAS PENALES Y CRIMINOLOGICAS´ La Estafa en la Obra de Arte D~na.Mar´ıa Angeles´ Casab´oOrt´ı 2014 Dedicatorias En este trabajo de investigaci´onme parece obligado hacer un previo reconocimiento a todas aquellas personas que me han prestado su ayuda e inmejorables consejos. Al Profesor Jaime Peris por su apoyo, la paciente orientaci´one in- estimables sugerencias a trav´esde todas las etapas del proceso. Su supervisi´ony opiniones me recordaron que los conocimientos pluridis- ciplinares enriquecen cualquier investigaci´on. Al Profesor Amadeo Serra por su constante seguimiento y relevantes aportes, compartiendo su tiempo de manera generosa. Sus interesantes clases fueron un ejemplo de como realizar siempre un trabajo riguroso. A Ana Rosa G´omezCalvet por su colaboraci´onen la maquetaci´ony revisi´on. A mi madre y hermana Luc´ıa,con las que he podido compartir esta pasi´on. A la memoria de mi padre que me transmiti´oel amor por el derecho. A Roberto y mis hijas Bertha y Angela,´ que me han acompa~nadoen este viaje y que me hacen feliz. Resumen El prop´ositode la presente tesis es el an´alisisy estudio jur´ıdicopenal en torno a la estafa mediante obras de arte falsas. El objeto de la investigaci´on,pues, queda circunscrito a la figura b´asicadel delito de estafa y a los preceptos que la complementan recogidos en los art´ıculos 248.1, 249 y 623,4 del C´odigoPenal. El n´ucleode la tesis est´aformado por tres cap´ıtulos,en un primero, se realiza un estudio terminol´ogico,necesario para definir un marco introductorio donde se acota el tema: el mercado del arte y el concepto de obra de arte. -
THE ART MARKET in 2015 Nota Bene : • All the Fine Art Auction Prices Quoted in This Report Include Buyer Fees
THE ART MARKET IN 2015 Nota Bene : • All the Fine Art auction prices quoted in this report include buyer fees. • For the purposes of this report, Fine Art includes paintings, sculptures, installations, drawings, photographs, videos, tapestries and prints. It does not include antiques, anonymous cultural goods and furniture. • “Western Art Market” means all countries of the world, except China. • All $ symbols refer to the US dollars and all ¥ symbols refer to the Chinese yuan. The exchange rate used by AMMA for the Chinese market data is an average annual rate. • The two main categories of Chinese art are “Chinese Painting & Calligraphy” and “Oil Painting & Contemporary Art”. • “Chinese Painting & Calligraphy” refers to traditional Chinese art forms usually created with Indian ink (Chinese ink) on various substrates such as Xuan paper, silk or fans. These may take the form of calligraphy, with subjects like poems, words and wishes, or traditional Chinese painting, representing landscapes, people, birds and flowers. • The “Oil Painting & Contemporary Art” category refers to artworks created by Chinese artists who have adopted Western techniques and media (oil painting, photography, sculpture, installation, pencil drawing, gouache, watercolor, etc.) after the first canvas oil painting was shown in China in 1579. • Old Masters: works by artists born before 1760. • 19th Century Art: works by artists born between 1760 and 1860. • Post-War Art: works by artists born between 1920 and 1945. • Contemporary Art: works by artists born after 1945 Thierry Ehrmann, founder largely driven by globalisation of the mar- IN 2015 the WEStern ket, with strong economic growth and an and CEO of Artprice: intensification of demand at the high-end “Wan Jie, CEO of Artron group and founder of the Western market. -
Teachers' Resource
TEACHERS’ RESOURCE BECOMING PICASSO: PARIS 1901 CONTENTS 1: INTRODUCTION TO THE EXHIBITION 2: ‘I WAS A PAINTER AND I BECAME PICASSO’ 3:THE ARTIST AS OUTSIDER: THE HARLEQUIN IN PICASSO’S EARLY WORK 4: PAINTING LIFE AND DEATH: PICASSO’S SECULAR ALTARPIECE 5: THE SECRET LIFE OF A PAINTING 6: PAINTING THE FIGURE: A CONTEMPORARY PRACTICE PERSPECTIVE 7: PICASSO’S BELLE ÉPOQUE: A SUBVERSIVE APPROACH TO STYLE AND SUBJECT 8: GLOSSARY 9: TEACHING RESOURCE CD TEACHERS’ RESOURCE BECOMING PICASSO: PARIS 1901 Compiled and produced by Sarah Green Design by Joff Whitten SUGGESTED CURRICULUM LINKS FOR EACH ESSAY ARE MARKED IN ORANGE TERMS REFERRED TO IN THE GLOSSARY ARE MARKED IN PURPLE To book a visit to the gallery or to discuss any of the education projects at The Courtauld Gallery please contact: e: [email protected] t: 0207 848 1058 Cover image: Pablo Picasso Child with a Dove, 1901 Oil on canvas 73 x 54 cm Private collection © Succession Picasso/DACS, London 2013 This page: Pablo Picasso Dwarf-Dancer, 1901 Oil on board 105 x 60 cm Museu Picasso, Barcelona (gasull Fotografia) © Succession Picasso/DACS, London 2013 WELCOME The Courtauld is a vibrant international centre for the study of the history of art and conservation and is also home to one of the finest small art museums in the world. The Public Programmes department runs an exceptional programme of activities suitable for young people, school teachers and members of the public, whatever their age or background. We offer resources which contribute to the understanding, knowledge and enjoyment of art history based upon the world-renowned art collection and the expertise of our students and scholars. -
Saliency-Based Artistic Abstraction with Deep Learning and Regression Trees
Journal of Imaging Science and Technology R 61(6): 060402-1–060402-9, 2017. c Society for Imaging Science and Technology 2017 Saliency-Based Artistic Abstraction With Deep Learning and Regression Trees Hanieh Shakeri, Michael Nixon, and Steve DiPaola Simon Fraser University, 250—13450 102nd Avenue, Surrey, BC V3T 0A3 E-mail: [email protected] to three or four large masses, and secondly the smaller details Abstract. Abstraction in art often reflects human perception—areas within each mass are painted while keeping the large mass in of an artwork that hold the observer’s gaze longest will generally be 4 more detailed, while peripheral areas are abstracted, just as they mind. are mentally abstracted by humans’ physiological visual process. With the advent of the Artificial Intelligence subfield The authors’ artistic abstraction tool, Salience Stylize, uses Deep of Deep Learning Neural Networks (Deep Learning) and Learning to predict the areas in an image that the observer’s gaze the ability to predict human perception to some extent, this will be drawn to, which informs the system about which areas to keep the most detail in and which to abstract most. The planar process can be automated, modeling the process of abstract abstraction is done by a Random Forest Regressor, splitting the art creation. This article discusses a novel artistic abstraction image into large planes and adding more detailed planes as it tool that uses a Deep Learning visual salience prediction progresses, just as an artist starts with tonally limited masses and system, which is trained on human eye-tracking maps of iterates to add fine details, then completed with our stroke engine. -
Valentine Penrose and Alice Rahon Paaien by Georgiana MM
CORE Metadata, citation and similar papers at core.ac.uk Provided by Modern Languages Publications Archive Through An Hour-giass Lightly: Valentine Penrose and Alice Rahon Paaien by Georgiana M M Colvüe Unik - Pourquoi Breton ûouvet-ii colossal de demander l’avis de la femme? Breton -Parce que ce n’est pas de mise. Unik - Le contraire peut n’être pas de mise. Breton - Je m’en fous. La Révolution Surrèalìsíe (1928)’ Clandestine de rêves je deviens cette inconnue qui passe ei ne sait plus appartenir je dérobe la mémoire je démasque j’outrepasse je suis d’une dernière colère Héhe Marcotte (1 988)’ What of the woman poet? What doesfdid she want? Why is she so hard to ñnd, so rarely mentioned by the critics, ancient or modem? After reminding us that: ‘Platon n’accorde pas droit de cité au pokte,” Blaise Cendrars, in a 1914 poem about the poet’s position in life, leaves ‘woman’llafemme’ suspended in mid-text, traversed by a long reference to the Nietzschean dauce: La femme, la danse que Nietzsche a voulu nous apprendre à danser La femme Mais l’ironie? Today Cendrars’ daughg image evokes the uncertah, neglected position of the woman poet. Sara Miiis appropriately titied a recent article on Gertrude Stein ‘No Poetry for Ladies“ a phrase taken fiom James Joyce (but, irony?) applied to ‘this poeiry for (and by) ladies and perhaps unfit for ladies’ (Mills, p.87). In Alicia Ostnker’s words, in tum borrowed from Hélène Cixous and Claudine Hermann, ‘Women miters have always tried to steal the language.” There is no lack of poetry by women, at any period, in any culture, as the various anthologies of women poets which grew out of the women’s movements of the 1970s have shown. -
Mise En Page 1 12/01/09 3:39 Page 1
Cata26JanvPArt1:Mise en page 1 12/01/09 3:39 Page 1 MILLON & ASSOCIÉS LE LUNDI 26 JANVIER 2009 À 14 H PARIS DROUOT RICHELIEU. SALLE 7 Edmond HEUZE (Paris 1884 – 1967). (190 lots) . Jeanin KOSTIA BLANCHETEAU (Née en 1932). (7 lots) Pierre ROSSIGNOL (1910 - 1988). (97 lots) M. GUYMAR (1932 - 1998). (26 lots) Colette LAJONIE dite CEELLE (Née à Paris en 1929). (26 lots) p2 à p23 p24 à p25 p26 à p37 p38 à p41 p42 à p45 EXPOSITIONS PUBLIQUES DROUOT-RICHELIEU SAMEDI 24 JANVIER DE 11 HÀ18 H ET LE LUNDI 26 JANVIER DE 11 HÀ12 H CONTACT ÉTUDE ALIX PIGNON-HERIARD. François GARIDEL Tel 01 47 27 15 92. [email protected] xConditions de ventes : p46-47. Ordres d’achat : p48 Estimations sur feuillet à part 5, AVENUE D’EYLAU 75116 PARIS Tel 01 47 27 95 34 Fax 01 47 27 70 89 Intégralité des lots reproduits sur notre site www.millon-associes.com SVV. Agr. N°2002-379 Cata26JanvPArt1:Mise en page 1 12/01/09 1:22 Page 2 Edmond HEUZE (Paris 1884 – 1967) Edmond Heuzé s’impose comme l’un des peintres significatifs du début de ce siècle, comme l’un des maîtres les plus authen- tiques de Montmartre. Etre une physionomie mont- martroise l’a écarté du grand public mais il a été fort apprécié des autres peintres de sa génération, Rouault, Vlaminck, Derain, le reconnurent comme l’un des leurs. Son parcours atypique avait dérouté le public. Tout à tour fort des Halles, danseur professionnel, lutteur, coureur cycliste, il gardera de ses professions variées un sens avisé, critique et douloureux qu’il extériorisera sur la toile, conseillé par Georges Rouault. -
Latin Derivatives Dictionary
Dedication: 3/15/05 I dedicate this collection to my friends Orville and Evelyn Brynelson and my parents George and Marion Greenwald. I especially thank James Steckel, Barbara Zbikowski, Gustavo Betancourt, and Joshua Ellis, colleagues and computer experts extraordinaire, for their invaluable assistance. Kathy Hart, MUHS librarian, was most helpful in suggesting sources. I further thank Gaylan DuBose, Ed Long, Hugh Himwich, Susan Schearer, Gardy Warren, and Kaye Warren for their encouragement and advice. My former students and now Classics professors Daniel Curley and Anthony Hollingsworth also deserve mention for their advice, assistance, and friendship. My student Michael Kocorowski encouraged and provoked me into beginning this dictionary. Certamen players Michael Fleisch, James Ruel, Jeff Tudor, and Ryan Thom were inspirations. Sue Smith provided advice. James Radtke, James Beaudoin, Richard Hallberg, Sylvester Kreilein, and James Wilkinson assisted with words from modern foreign languages. Without the advice of these and many others this dictionary could not have been compiled. Lastly I thank all my colleagues and students at Marquette University High School who have made my teaching career a joy. Basic sources: American College Dictionary (ACD) American Heritage Dictionary of the English Language (AHD) Oxford Dictionary of English Etymology (ODEE) Oxford English Dictionary (OCD) Webster’s International Dictionary (eds. 2, 3) (W2, W3) Liddell and Scott (LS) Lewis and Short (LS) Oxford Latin Dictionary (OLD) Schaffer: Greek Derivative Dictionary, Latin Derivative Dictionary In addition many other sources were consulted; numerous etymology texts and readers were helpful. Zeno’s Word Frequency guide assisted in determining the relative importance of words. However, all judgments (and errors) are finally mine. -
Annual Report 2004
mma BOARD OF TRUSTEES Richard C. Hedreen (as of 30 September 2004) Eric H. Holder Jr. Victoria P. Sant Raymond J. Horowitz Chairman Robert J. Hurst Earl A. Powell III Alberto Ibarguen Robert F. Erburu Betsy K. Karel Julian Ganz, Jr. Lmda H. Kaufman David 0. Maxwell James V. Kimsey John C. Fontaine Mark J. Kington Robert L. Kirk Leonard A. Lauder & Alexander M. Laughlin Robert F. Erburu Victoria P. Sant Victoria P. Sant Joyce Menschel Chairman President Chairman Harvey S. Shipley Miller John W. Snow Secretary of the Treasury John G. Pappajohn Robert F. Erburu Sally Engelhard Pingree Julian Ganz, Jr. Diana Prince David 0. Maxwell Mitchell P. Rales John C. Fontaine Catherine B. Reynolds KW,< Sharon Percy Rockefeller Robert M. Rosenthal B. Francis Saul II if Robert F. Erburu Thomas A. Saunders III Julian Ganz, Jr. David 0. Maxwell Chairman I Albert H. Small John W. Snow Secretary of the Treasury James S. Smith Julian Ganz, Jr. Michelle Smith Ruth Carter Stevenson David 0. Maxwell Roselyne C. Swig Victoria P. Sant Luther M. Stovall John C. Fontaine Joseph G. Tompkins Ladislaus von Hoffmann John C. Whitehead Ruth Carter Stevenson IJohn Wilmerding John C. Fontaine J William H. Rehnquist Alexander M. Laughlin Dian Woodner ,id Chief Justice of the Robert H. Smith ,w United States Victoria P. Sant John C. Fontaine President Chair Earl A. Powell III Frederick W. Beinecke Director Heidi L. Berry Alan Shestack W. Russell G. Byers Jr. Deputy Director Elizabeth Cropper Melvin S. Cohen Dean, Center for Advanced Edwin L. Cox Colin L. Powell John W. -
VENTE DU 02/03/2014 À 14H FAX 03 87 36 93 02 43, Rue Dupont Des Loges 57000 METZ [email protected]
MARTIN – BAILLY & ASSOCIES TEL 03 87 36 68 53 hoteldesventesdemetz.fr VENTE DU 02/03/2014 à 14H FAX 03 87 36 93 02 43, rue Dupont des Loges 57000 METZ [email protected] N° Description Estimations 1 Gantner. Paysage. Lithographie. signé en bas à droite et n°100/100. 50 x 33 cm à vue. 30 / 50 2 Georges Laporte. Maisons en Bretagne. Lithographie. signé en bas à droite et marquée E.A. 50 / 80 49 x 64 cm à vue. 3 Camille Hilaire 1916-2004. Paysage. Lithographie. SBD. N°103/175. 51 x 66 cm à vue. 100 / 200 4 Camille Hilaire 1916-2004. Nature morte au bouquet. Lithographie. SBD. N° 68/200. 71 x 71 150 / 250 cm à vue. 5 Camille Hilaire. Femme à la fenêtre. Lithographie Numérotée 106/300 et signée. 44 x 59 cm 50 / 100 à vue. Joint: Pierre Pages. Vue de Paris. Lithographie. 6 Jacques Callot. Le siège. Gravure. 8.5 x 19.2 cm (accidents). Joint une estampe représentant 50 / 100 une vue de Metz. 7 Szafran. Le funambule. Lithographie. signée en bas à droite et marquée E.A. 76 x 56 cm. 400 / 500 8 Jean POUGNY (1894-1956). Dix linogravures originales 1914-1920. "L'ATELIER" poème de 300 / 500 Jacques Prévert, Paris. Exemplaire hors commerce numéroté 10 sur 30 (manque une estampe). Haut. 148, larg. 114 cm. 9 André Masson. Errance dans le jardin d'Eros. Lithographie. signé en bas à droite et datée 150 / 200 1964. 21 x 27 cm. 10 Camille HILAIRE (1916-2004). Les deux amies sur la plage. -
News Release ATZ200730-E E
News Release ATZ200730-E_E July 30, 2020 Artizon Museum, Ishibashi Foundation Rimpa and Impressionism: Arts Produced by Urban Cultures, East and West November 14 (Saturday), 2020 ‒ January 24 (Sunday), 2021 The Artizon Museum of the Ishibashi Foundation (Director: Ishibashi Hiroshi) is delighted to announce its upcoming exhibition, Rimpa and Impressionism: Arts Produced by Urban Cultures, East and West. The Rimpa school of painting was initiated by Tawaraya Sotatsu in the early seventeenth century. It evolved through the work of Ogata Korin in the early eighteenth century and Sotatsu’s and Korin’s colleagues in context of the townsman culture of Kyoto, then Japan’s imperial capital. In the early nineteenth century, Rimpa was carried on by artists such as Sakai Hoitsu and Suzuki Kiitsu, in Edo (today’s Tokyo), the shogun’s headquarters. In Edo, the evolving Rimpa school became an urban genre with a decorative aesthetic at its core. Impressionism was an innovative, modern school of art that emerged in Europe in the latter half of the nineteenth century. Centered on Paris, the Impressionists included artists such as Édouard Manet, Claude Monet, Edgar Degas, Pierre-Auguste Renoir, and Paul Cézanne who candidly expressed their impressions of their everyday experiences and the delights of urban lifestyles. This exhibition is an innovative attempt to compare and survey, through works by artistic geniuses nurtured by urban cultures in Japan and Europe, East and West, what the sophisticated aesthetics characteristic of major metropolises achieved. The exhibition includes the Impressionist masterpieces that are the core of our collection and Rimpa works from our collection being shown for the first time, plus masterworks from temples and museums in Japan.